CANADIAN ELECTROACOUSTIC MUSIC LP 60's ELECTRONIC-RARE

$

79

HUGH LECAINE / MICHELINE COULOMBE-MARCOUX / PAUL PEDERSEN / OTTO JOACHIM / PETER HUSE / DAVID PAUL

 CARREFOUR MUSIQUE ELECTRO-ACOUSTIQUE LP

Radio Canada International (RCI)

Extremely rare and real killer electroacoustic album from Canada presenting works from the period 1969-1972.

Some info on the release:  Very rare release published in Canada sometime in the 70's on the Radio Canada International label. Recently unearthed by the "Creel Pone" series and released in their series of re-issues of "rare" electronic music records (Gunter Maas, Andre Almuro, Daniel Arfib, Cecil Leuter, Jean-Claude Eloy, Nino Nardini, Iatrogenics, Ruth White, Pythagoron, etc.). No need to tell you how hard to find is this one.). Features works from founder of electronic music in Canada Hugh LeCaine, but also from pioneers Micheline Coulombe Saint-Marcoux, Paul Pedersen, Otto Joachim, Michel Longtin, Peter Huse and David Paul. Harsh experimental electronics with use of VCS3 synthesizer, excellent and historic works on the famous Lecaine Polymorphic Synthesizer, pure musique concrete in the way of the "french" school of Pierre Henry, pure tape music, computer music and many other experiments!!

Saint-Marcoux Micheline Coulombe. Composer, teacher, b Notre-Dame-de-la-Doré, near Roberval, Que, 9 Aug 1938, d Montreal 2 Feb 1985; B MUS (Montreal) 1962, premiere prix composition (CMM) 1967. She studied piano and harmony 1956-8 with François Brassard in Jonquière, Que, and worked 1960-3 with Yvonne Hubert (piano), Françoise Aubut (theory) and Claude Champagne (composition) at the École Vincent-d'Indy. She then became a pupil of Gilles Tremblay and especially of Clermont Pépin at the CMM. Awarded the Prix d'Europe for composition in 1967 with Modulaire for orchestra, she lived 1968-70 in Paris, studying electronic music with the Groupe de recherches musicales of the ORTF and taking courses with Pierre Schaeffer at the Paris Cons. The Groupe de recherches musicales commissioned her to write a work, Arksalalartöq, which was premiered 26 Feb 1971 in Paris. While she was in Paris she also studied privately with Gilbert Amy and Jean-Pierre Guézec. In 1969, with five young composers from different countries, she founded the Groupe international de musique électroacoustique de Paris (GIMEP). She took part until 1973 in its concerts in Europe, South America, and Canada. Two of her works, Bernavir and Trakadie, were premiered in 1970 by GIMEP. Makazoti, commissioned in 1971 by the CBC IS, originally was conceived for the Swingle Singers and was the first of a set of three vocal works influenced by the composer's obvious desire to return to her roots.

Longtin, Michel. Composer, teacher, b Montreal 20 May 1946; BA (Montreal) 1967, B MUS composition (Montreal) 1973, M MUS composition (Montreal) 1975, D MUS composition (Montreal) 1982. Longtin started his education in the sciences, though quickly changed programs and graduated with a BA at the Collège des Eudistes (Montreal) in 1967. He also attended the Banff School of Fine Arts, studying theatre, during the summers 1963-4. In 1968 he pursued courses in computer science, stage directing and music, the last with André Prévost. In 1970, he entered the composition program at the University of Montreal, where he completed a baccalaureate, a master's degree under Prévost, and a doctorate under Serge Garant. Earlier, Longtin also briefly studied with Samuel Dolin at the Royal Conservatory of Music (July 1971), and worked in the electronic music studio of McGill University - 1971-2 with Paul Pedersen, 1972-3 with Bengt Hambraeus, and 1974-5 with Alcides Lanza. He received a grant from the Canada Council in 1974 and the Canadian League of Composers prize in 1975 for Le Pèlerin d'Alnéoïl and Brandon North. In 1978 he participated in the founding of ACREQ (the Association pour la création et la recherche électroacoustiques du Québec). His influences, which range from Toru Takemitsu and Iannis Xenakis to Leonard Bernstein and Jerry Goldsmith, demonstrate the wide aesthetic palette from which Longtin draws his material, as well as his undogmatic approach to contemporary music.

Condition: Vinyl lies in excellent condition, looks super clean and plays perfectly with some occasional crackle, while cover lies in very good++ to exc- condition with slight ring and age wear (see picture).

Tracklist

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